Posts Tagged ‘homes’
June 12, 2015 | by Leanne Shapton
Last November, on his birthday, I accompanied Richard McGuire to the emergency room. He was experiencing some excruciating back pain. Richard is an unusually polite and considerate man, but as he waited and waited for some relief, I began to worry about him. I asked a passing nurse about pain medication. She poked her head into our room and explained there was a “code” on the floor—the doctors had been dealing with that.
We went quiet. Richard explained that “code blue” usually meant a death.
Half an hour later, Richard was given a Valium and two extra-strength Motrin. He talked about being in the hospital with his father the night his mother died, the machines all going crazy, the medics rushing in and telling them to leave. When his father died, he said, it was different, more peaceful.
Richard was X-rayed, diagnosed with a severe muscle spasm, and discharged. We headed to a restaurant a block away where far-flung friends had gathered for his birthday dinner. It struck me, as we ordered burgers and martinis, that the past few hours could be a strange and miniature overture to his book, Here, which he had just finished. A birth date, a death date, loving and painful memories, banalities, transient spaces, and always an eye on the time. Here launched a month later and has since become a best seller.
I feel that Here is a very new kind of ghost story. Not a scary one, but a haunting one. What portion of the book was inspired by the death of your sister and parents, and what was the original strip inspired by, or an exercise in?
I think their passing set the tone for the book. You see things differently after going through that experience—the idea of impermanence is made more real, and everything seems fragile. The family home had to be sold. Just emptying it took a while. My parents lived there for fifty years, and the house was packed. My mom hated throwing anything away. All the clothes, the photos, the letters and things that had meaning to them. The only thing I took were boxes of photos and some films my dad shot. I think it helped with the grieving process, looking at all that stuff. Read More »
May 28, 2015 | by Dan Piepenbring
David Graham’s “Where We Live: Photographs of the American Home” is at Laurence Miller Gallery through June 26. Graham’s photographs span more than thirty years; he aims to “document the American home as both sanctuary and playful expression of individuality.” You can see more of his work here.
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January 2, 2015 | by Colin Dickey
We’re out until January 5, but we’re re-posting some of our favorite pieces from 2014 while we’re away. We hope you enjoy—and have a happy New Year!
Foreclosed homes as haunted houses.
My wife and I began searching for a house in 2008, just as the market was crashing, just as those first waves of foreclosed homes and short sales were hitting the market. Priced out of Los Angeles real estate for so long, we were finally able to afford houses whose prices had been ridiculously inflated only six months earlier. Occasionally we went to those open houses with smiling realtors and bowls of candy set out, where owners had recently landscaped or repainted to enhance value, but we could never seriously consider any of these. The homes that mattered had lock boxes, were abandoned or in the process of being abandoned—the ones that reeked of disrepair and despair.
We spent the summer touring nearly every distressed property in the neighborhoods East of Hollywood: Los Feliz, Silverlake, Echo Park, and Atwater Village—every abandoned or half-abandoned monstrosity and beloved ruin, looking for a home. I still have a hard time articulating the sense of dread and fascination those houses stirred in me. The feeling of moving through these spaces—particularly as we were visiting seven or eight of them in an afternoon—was indescribable. A sense of wrongness pervaded so many of these homes. I’m not superstitious—I don’t believe in spirits or forces or haunted houses—but much of our lexicon in these cases depends on notions of the supernatural; in the end, the only word that seems useful for talking about the houses is unheimlich—a German word, literally “unhomely” or “not of the home,” “unfamiliar.” It’s more idiomatically translated as “uncanny”: a word that Freud plucked and repurposed from the realm of the supernatural. Read More >>
August 20, 2014 | by Dan Piepenbring
The literary real-estate market is booming. In May, Ray Bradbury’s house was for sale (Los Angeles, California; 2,500 square feet; $1.495 million). Then, in July, John Cheever’s house was for sale (Ossining, New York; 2,688 square feet; $525,000). At the time, you may have kicked yourself for failing to act on those—maybe you couldn’t scrape together the funds in time, or maybe you thought, Well, surely some other Dead Author’s Home will come along soon enough, and that will be the Dead Author’s Home for me.
You’re in luck: as reported by the Los Angeles Times, the Guardian, Page Six, and others, J. D. Salinger’s house is for sale, and it’s the most capacious authorial domicile yet (Cornish, New Hampshire; 2,900 square feet; $679,000).
The home’s current owner, Joan Littlefield, told the Valley News, a New Hampshire paper, that “she had been considering advertising the house, which she bought in the 1980s, in The New Yorker, in the hopes of attracting literary types.” To go by the coverage the property’s received, she has the right idea. But what does it mean to want to live in a dead writer’s house? When does fandom devolve into idolatry?
You might suppose that an ardent admirer of Salinger’s would have much to gain by inhabiting his private space—writerly inspiration, maybe, or a deeper connection to the work, or even just a constant, salubrious mental patter. (It’s another fine morning in J. D.’s kitchen, the satisfied homeowner thought.) Read More »
August 8, 2014 | by Sadie Stein
Now that it is going to be sold, my grandparents’ house, and the summers we spent there, seem cloaked in romance. I remember the trips to the thrift store, the games in the phalanx of sheds, the maple bars from Red’s Donuts, nature walks with my uncle, reading Green Mansions in the woods. It is easy to gloss over the rest.
It was a place of strong smells. Mint in the yard. Eucalyptus trees on the drive. Talcum powder and Lysol and always a potato rotting somewhere in the kitchen. It would have been a good place to be blind. Or, it would have if every inch hadn’t been covered with constantly shifting stuff.
I can’t seem to stop thinking and writing about my grandparents, lately. Well, they’ve been on everyone’s minds as they clear the property and sort through the family politics. I suppose I’ve been fumbling for some sort of eulogy. I’ve started to write about singing gay nineties songs around the piano, about family holidays and the day we all dressed in costumes for a group portrait. But I don’t think any of that really tells the story. If I were to try to say goodbye with one story, I think it would need to be a conversation I overheard one day. My grandfather called every evening; I walked into the kitchen to find my mother on the phone.
“Has Mom agreed to this?” A beat. Then, exasperated, “Then that’s not a suicide pact, Dad; it’s a murder-suicide.”
June 27, 2014 | by Aaron Gilbreath
Precarity and creativity in other people’s homes.
When I moved back to Portland, Oregon, in 2010, after four years away in New York and Arizona, no one would hire me. Not Whole Foods, not the local New Seasons market, not the upscale Zupan’s chains. “Thanks for your interest in the Deli Service Clerk/Courtesy Clerk/Cashier/Meat Cutter - Back up position,” an automated email said. “If your skills match up with the requirements of the job, we’ll be in touch to arrange an interview.” No one got in touch. Trader Joe’s wouldn’t even respond to my inquiries. If I, a thirty-six year old with college degrees and retail experience, couldn’t get hired to work a register, what hope could I feel in anything?
I subsisted on egg dishes and microwavable food. Whatever canned soups were on sale I bought by the armful. In lieu of a “real” job, I made it my job to spend very little money. Portland is a tough town for good employment. It has a glut of eager applicants and limited industry. Our main commercial offerings are arguably food, advertising, and stylishness. Combined with our large artist population, that means that countless musicians, writers, and painters are cooking and serving your meals.
Hope came from a local landmark, Powell’s Books, which hired me as a temp cashier in the summer of 2011. I’d worked at the flagship store full-time between 2000 and 2006, and the intervening years seem to have erased my employer’s memories of my often gruff customer service, my habit of sleeping on the lunchroom couch, and my tendency to use the company Xerox machine to photocopy material for whatever I was writing. That summer, by the large windows along Burnside Street, I stood at the cash register and pushed keys for four to nine hours a day. But when the season ended, the store created a few permanent part-time cashier positions, and I didn’t land one. “We’re sorry to say we’ve found somebody else,” my manager said weeks after my interview. He wasn’t as sorry as I was—he, with a job to cover his mortgage and health insurance.
I was back where I started. I struck out on my own and became a house sitter. Read More »